In the exhibition “Jerusalem 1000–1400,” now at New York’s Metropolitan Museum, artworks and artifacts created during the bloody turmoil of the Crusades are displayed in peaceful coexistence, despite their divergent religious origins.

Real estate developer John Portman's model of integrating art into self-contained architectural spaces affects even edgy galleries and funky nonprofits in Atlanta, where artists are often invited to spearhead gentrification.

David White, senior curator at the Robert Rauschenberg Foundation, recalls helping the artist mount the first showing of his giant installation The ¼ Mile or 2 Furlong Piece in Fort Myers, Florida, in 1982.

Visiting the US in 1966 and 1969, Italy’s controversial postwar Renaissance man, Pier Paolo Pasolini, found a rejuvenating energy in his encounters with fellow filmmakers, artists, writers, and activists.

These volumes of Art in America’s history have not yet been digitized.

Founded in 1913 by art critic, historian and collector Frederic Fairchild Sherman under founding editor Wilhelm R. Valentiner, A.i.A., in its early issues, focused on old masters in American collections. For much of the ‘20s, the magazine was named Art in America and Elsewhere, reflecting its increasing geographic reach.